The Collected Works of Anton Chekhov: Plays, Novellas, Short Stories, Diary & Letters. Anton Chekhov
across from the further bank. The note was deep and low, as from the thickest string of a double bass; it seemed as though the darkness itself had hoarsely uttered it. At once there was the sound of a cannon shot. It rolled away in the darkness and ended somewhere in the far distance behind me. The peasant took off his hat and crossed himself.
‘“Christ is risen,” he said.
Before the vibrations of the first peal of the bell had time to die away in the air a second sounded, after it at once a third, and the darkness was filled with an unbroken quivering clamour. Near the red lights fresh lights flashed, and all began moving together and twinkling restlessly.
“Ieron — im!” we heard a hollow prolonged shout.
“They are shouting from the other bank,” said the peasant, “so there is no ferry there either. Our Ieronim has gone to sleep.”
The lights and the velvety chimes of the bell drew one towards them…. I was already beginning to lose patience and grow anxious, but behold at last, staring into the dark distance, I saw the outline of something very much like a gibbet. It was the long-expected ferry. It moved towards us with such deliberation that if it had not been that its lines grew gradually more definite, one might have supposed that it was standing still or moving to the other bank.
“Make haste! Ieronim!” shouted my peasant. “The gentleman’s tired of waiting!”
The ferry crawled to the bank, gave a lurch and stopped with a creak. A tall man in a monk’s cassock and a conical cap stood on it, holding the rope.
“Why have you been so long?” I asked jumping upon the ferry.
“Forgive me, for Christ’s sake,” Ieronim answered gently. “Is there no one else?”
“No one… .”
Ieronim took hold of the rope in both hands, bent himself to the figure of a mark of interrogation, and gasped. The ferryboat creaked and gave a lurch. The outline of the peasant in the high hat began slowly retreating from me — so the ferry was moving off. Ieronim soon drew himself up and began working with one hand only. We were silent, gazing towards the bank to which we were floating. There the illumination for which the peasant was waiting had begun. At the water’s edge barrels of tar were flaring like huge camp fires. Their reflections, crimson as the rising moon, crept to meet us in long broad streaks. The burning barrels lighted up their own smoke and the long shadows of men flitting about the fire; but further to one side and behind them from where the velvety chime floated there was still the same unbroken black gloom. All at once, cleaving the darkness, a rocket zigzagged in a golden ribbon up the sky; it described an arc and, as though broken to pieces against the sky, was scattered crackling into sparks. There was a roar from the bank like a faraway hurrah.
“How beautiful!” I said.
“Beautiful beyond words!” sighed Ieronim. “Such a night, sir! Another time one would pay no attention to the fireworks, but to-day one rejoices in every vanity. Where do you come from?”
I told him where I came from.
“To be sure… a joyful day to-day… .” Ieronim went on in a weak sighing tenor like the voice of a convalescent. “The sky is rejoicing and the earth and what is under the earth. All the creatures are keeping holiday. Only tell me kind sir, why, even in the time of great rejoicing, a man cannot forget his sorrows?”
I fancied that this unexpected question was to draw me into one of those endless religious conversations which bored and idle monks are so fond of. I was not disposed to talk much, and so I only asked:
“What sorrows have you, father?”
“As a rule only the same as all men, kind sir, but to-day a special sorrow has happened in the monastery: at mass, during the reading of the Bible, the monk and deacon Nikolay died.”
“Well, it’s God’s will!” I said, falling into the monastic tone. “We must all die. To my mind, you ought to rejoice indeed…. They say if anyone dies at Easter he goes straight to the kingdom of heaven.”
“That’s true.”
We sank into silence. The figure of the peasant in the high hat melted into the lines of the bank. The tar barrels were flaring up more and more.
“The Holy Scripture points clearly to the vanity of sorrow and so does reflection,” said Ieronim, breaking the silence, “but why does the heart grieve and refuse to listen to reason? Why does one want to weep bitterly?”
Ieronim shrugged his shoulders, turned to me and said quickly:
“If I died, or anyone else, it would not be worth notice perhaps; but, you see, Nikolay is dead! No one else but Nikolay! Indeed, it’s hard to believe that he is no more! I stand here on my ferryboat and every minute I keep fancying that he will lift up his voice from the bank. He always used to come to the bank and call to me that I might not be afraid on the ferry. He used to get up from his bed at night on purpose for that. He was a kind soul. My God! how kindly and gracious! Many a mother is not so good to her child as Nikolay was to me! Lord, save his soul!”
Ieronim took hold of the rope, but turned to me again at once.
“And such a lofty intelligence, your honour,” he said in a vibrating voice. “Such a sweet and harmonious tongue! Just as they will sing immediately at early matins: ‘Oh lovely! oh sweet is Thy Voice!’ Besides all other human qualities, he had, too, an extraordinary gift!”
“What gift?” I asked.
The monk scrutinized me, and as though he had convinced himself that he could trust me with a secret, he laughed good-humouredly.
“He had a gift for writing hymns of praise,” he said. “It was a marvel, sir; you couldn’t call it anything else! You would be amazed if I tell you about it. Our Father Archimandrite comes from Moscow, the Father Sub-Prior studied at the Kazan academy, we have wise monks and elders, but, would you believe it, no one could write them; while Nikolay, a simple monk, a deacon, had not studied anywhere, and had not even any outer appearance of it, but he wrote them! A marvel! A real marvel!” Ieronim clasped his hands and, completely forgetting the rope, went on eagerly:
“The Father Sub-Prior has great difficulty in composing sermons; when he wrote the history of the monastery he worried all the brotherhood and drove a dozen times to town, while Nikolay wrote canticles! Hymns of praise! That’s a very different thing from a sermon or a history!”
“Is it difficult to write them?” I asked.
“There’s great difficulty!” Ieronim wagged his head. “You can do nothing by wisdom and holiness if God has not given you the gift. The monks who don’t understand argue that you only need to know the life of the saint for whom you are writing the hymn, and to make it harmonize with the other hymns of praise. But that’s a mistake, sir. Of course, anyone who writes canticles must know the life of the saint to perfection, to the least trivial detail. To be sure, one must make them harmonize with the other canticles and know where to begin and what to write about. To give you an instance, the first response begins everywhere with ‘the chosen’ or ‘the elect.’… The first line must always begin with the ‘angel.’ In the canticle of praise to Jesus the Most Sweet, if you are interested in the subject, it begins like this: ‘Of angels Creator and Lord of all powers!’ In the canticle to the Holy Mother of God: ‘Of angels the foremost sent down from on high,’ to Nikolay, the Wonder-worker— ‘An angel in semblance, though in substance a man,’ and so on. Everywhere you begin with the angel. Of course, it would be impossible without making them harmonize, but the lives of the saints and conformity with the others is not what matters; what matters is the beauty and sweetness of it. Everything must be harmonious, brief and complete. There must be in every line softness, graciousness and tenderness; not one word should be harsh or rough or unsuitable. It must be written so that the worshipper may rejoice at heart and weep, while his mind is stirred and he is thrown into a tremor. In the canticle to the Holy Mother are the words: ‘Rejoice, O Thou too high for human thought